For nearly six decades, Philippe Herreweghe has shaped the landscape of early music, beginning with the Collegium Vocale Gent and a monumental undertaking: a complete recording of Johann Sebastian Bach’s cantatas alongside Gustav Leonhardt and Nikolaus Harnoncourt. Now, as he embarks on his 150th performance of Bach’s St. Matthew Passion, the renowned conductor reflects on a career defined by both reverence for the past and a relentless pursuit of authentic expression. The upcoming performances, beginning in Ghent and touring through Europe, represent not just a milestone in Herreweghe’s career, but a continuation of a legacy he hopes will extend far beyond his own involvement.
Herreweghe’s early musical journey was profoundly influenced by Leonhardt, whom he describes with a warmth bordering on reverence. “Leonhardt was my god, my reference,” he recalls. “I could have had his poster in my room if there had been one. He was – I don’t like to say genius, given that the only genius is the composer – a particularly great talent.” Whereas acknowledging he never surpassed Leonhardt, Herreweghe forged his own path, one that increasingly focused on the vocal aspects of Bach’s work. Leonhardt, a harpsichordist, would often motivate the ensemble by whistling the music during rehearsals, a testament to his instrumental focus. “You’ll see people like René Jacobs and perhaps a little myself, who have approaches more rooted in singing,” Herreweghe explains. “I’m not a professional singer, but I’ve taken singing lessons and I know enough to deliver an example by singing. Bach is also about singing, it’s not just about articulation.”
The conductor’s approach to interpretation has evolved over the years, moving beyond purely academic considerations to embrace a more emotionally resonant performance style. This shift is evident in the Collegium Vocale’s numerous recordings of the St. Matthew Passion, a work that holds a special place in Herreweghe’s heart. He notes that the ensemble has made three recordings of the piece, collectively selling nearly one million copies – a testament to its enduring appeal and the Collegium Vocale’s ability to connect with audiences. The Collegium Vocale Gent’s repertoire has expanded beyond Bach, encompassing works by Handel and other Baroque composers.
The Future of a Legacy
At 78, Herreweghe is acutely aware of the question of succession. “Yes, of course,” he affirms when asked if the Collegium Vocale can and should outlive him. However, the immediate challenge lies in securing funding for the next five years. The ensemble is currently preparing a proposal for the Flemish government, a process he describes as “delicate.” “The state has much less money than before, I think it’s the same in Wallonia,” he observes. “Those who judge in ministerial offices are informed by commissions, of course, but those who decide are very often not musicians at all. And decision-makers want novelty.”
The Collegium Vocale’s 55-year history, encompassing thousands of concerts and some 200-300 recordings, speaks to its enduring value. Herreweghe believes the ensemble’s societal impact is undeniable, citing the success of their St. Matthew Passion recordings as evidence. “You can imagine the number of listeners…” he muses. But demonstrating that value to those who control the purse strings is an ongoing effort.
A Continued Passion for Music
Despite the administrative hurdles, Herreweghe remains remarkably energetic. “I hope to continue as long as my health allows,” he says. His father, he notes, remained active until shortly before his death at the age of 87, even playing golf the day before. “He died a solid death,” Herreweghe reflects. “Of course, all deaths are horrible, but I imply that I hope I will be given a little more time too. And I would like to continue making music during that time.”
Herreweghe’s dedication extends beyond Bach. Recent performances have included works by Verdi, showcasing the breadth of his musical interests. But It’s Bach’s St. Matthew Passion that remains a touchstone, a work he returns to with renewed insight and passion.
The upcoming tour, beginning in Ghent on March 27th and continuing to Cologne, Barcelona, Madrid, Hamburg, Munich, and Zurich through April 4th, represents a significant undertaking for the Collegium Vocale. It’s a testament to Herreweghe’s enduring commitment to bringing this masterpiece to audiences around the world. The performances are not simply a repetition of past successes, but a continuation of a lifelong exploration of Bach’s genius.
As Herreweghe looks ahead, the focus remains on preserving the legacy of the Collegium Vocale and ensuring its continued relevance in a changing musical landscape. The outcome of the funding proposal will be crucial, but his unwavering dedication to music suggests that, even in the face of uncertainty, the ensemble will continue to resonate with audiences for years to come. The next step in securing that future will be the Flemish government’s decision on the five-year project proposal, expected in the coming months.
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